The Garden of Earthly Delights (or The Millennium) is a triptych painted by the early Netherlandish master Hieronymus Bosch (c. 1450–1516), housed in the Museo del Prado in Madrid since 1939. The triptych is painted in oil and comprises a square middle panel flanked by two rectangular wings that can close over the center as shutters. These outer wings, when folded shut, display a grisaille painting of the earth during the Creation. The three scenes of the inner triptych are probably intended to be read chronologically from left to right. The left panel depicts God presenting to Adam the newly created Eve, while the central panel is a broad panorama of sexually engaged nude figures, fantastical animals, over-sized fruit and hybrid stone formations. The right panel is a hellscape and portrays the torments of damnation.

As to the quality, it can be easily understood by painting experts of your level that arts products can hardly be measured only by price, because quality is of equal importance. Good quality is salable, poor quality only waste your money. We are confident that you will be satisfied with our paintings and will find that the quality matches the price we charge.
We have four quality levels:
1) Meseum quality: Paintings will be painted with toppest quality canvas and paints by years of expierenced artists. All the detials will be carefully painted, the finished paintings will be exactly the same as the original pictures.
2)High quality: Paintings will be painted with high quality canvas and paints by over ten years expierenced artists. The paintings will be much similar as the original pictures.
3) Medium quality: Paintings will be painted with medium quality canvas and paints by five to eight years expierenced artists. Most of the paintings details will be similar as the original pictures.
4) Commercial quality: Paintings will be painted with common canvas and paints by two to four years expierenced painters.

In The Yellow Christ(1889), often cited as a quintessential Cloisonnist work, the image was reduced to areas of pure color separated by heavy black outlines. In such works Gauguin paid little attention to classical perspective and boldly eliminated subtle gradations of color, thereby dispensing with the two most characteristic principles of post-Renaissance painting. His painting later evolved towards Synthetism in which neither form nor color predominate but each has an equal role.